Paintings are often seen as articles of entertainment and decoration. However, they have deeper meanings associated with them in cultural and ritualistic aspects. Beyond their alluring appearance, paintings often play significant roles in various ritual and cultural practices, symbolizing spiritual connections and expressing collective identity as a community. One such artistic tradition is the Warli painting done by the Warli tribe. Warli paintings provide a different dimension to the tribal art of India. These paintings are ascetic and simple in nature. These paintings are quite different from other tribal art forms in the way that they do not involve the use of a lot of colours instead are drawn on a brown surface with white rice paste. These paintings are dominated by geometrical designs such as human figures made by joining two triangles, a circle representing the sun and moon, triangles symbolizing mountains, dots depicting stars, and squares representing a piece of land, etc.
A wide variety of themes are depicted by them in their paintings ranging from socio-cultural to religious life. However, on this article we will be emphasising on Warli paintings from north Maharashtra thus ignoring variations in other parts of Maharashtra and Gujarat. As we explore the fascinating world of Warli paintings, we can find meaningful representations, of their life experiences and values; and their enduring ties to the natural and spiritual worlds as they try to express their entire worldview in their paintings.
Warli tribe
The Warli tribe, one of Maharashtra’s largest indigenous communities, has received scholarly interest due to its unique cultural heritage and artistic traditions. The extent of Warli population spreads over the hilly parts of North Konkan and South Gujarat, the coastal strip of the north of Thana district, and the plains and forests lying between the coast, (Arabian Sea) and the Sahyadri range. The people live in numerous small groups scattered all over these parts. As per the 2011 Census, India’s Tribal population is 10.43 Crores out of which the Warli tribe Constitutes approximately 9.7 Lakh. The word “warli” according to Dr. Wilson (1876, Thane Gazetteer) comes from the word “varal” meaning a piece of cultivated land. However, there are various opinions regarding where the word “warli” actually came from.
The Warlis live in huts made from wood of sag trees, karvi reeds, and bamboo sticks. Their huts are plastered with cow dung or mud and the roof is made of straw or dried leaves. The huts have no windows. Most of the people are engaged in the primary sector of the economy, however, some people work in the secondary sector in nearby industrial areas as well. They practice settled agriculture which is subsistence in nature and grow rice of the coarser kind.
Warli paintings
Warli paintings are traditionally made during the marriage ceremony. The ritualistic significance of these paintings can be noticed from the fact that the marriage ceremony cannot take place without making these paintings. To avoid any kind of obstacle in the ceremony, careful preparations are undertaken, and the process of making paintings involves a slow and well-managed movement.
These are most often made on the outer side of the kitchen wall which usually faces the entrance door. The wall is leaped with cow dung on which a rectangular part is given a coating of geru. The painting is then done with the white paste made of rice, using sticks as brushes. The main elements of the marriage paintings are made by the Suvasinis, the women whose husbands are alive, other than that the other parts of the painting can be made by young girls of the family. Marriage paintings include the “Lagna Chauk” and the “Dev Chauk”.
The Lagna chauk (marriage square) is made a day before the marriage ceremony takes place. The painting is covered with white cloth which is unveiled by Bhagat (medicine man cum priest). The Suvasinis start the painting by drawing a Chaukat. The Chauk or Chaukat is a square of concentrated energy. It is made by drawing four lines on each side to enclose a square space. The ends of the lines are looped. The four lines represent four household gods: Narandev, Hirva, Himai, and Jhotinga.
Inside it are various objects used during the marriage ceremony like Tarpa, Stairs, comb, sun, moon, etc. In the center of the Chaukat, Palaghata is drawn. She is the patron deity of marriage also known fertility goddess. The image of the goddess is created by the formation of two triangles, one pointing upward and representing the male element- the erect stone – and the other one facing downwards which symbolizes the female principle- the embodiment of all creative energy. She is important because of the position of her legs as her legs are shown spread outwards in the birth-giving position. However, there is regional variation in the depiction of the goddess Palaghata.
Dev Chauk is drawn next to Lagna Chauk. It is much smaller in size. It is the square of the five-headed god “Panchsiriya”. There are regional variations in the depictions of Panchsiriya as well. The Panchsiriya, a five-headed figure, is depicted in a serpent-like manner at Talaseri, with elongated heads and a square-like body. Snakes are often seen as protectors and symbols of fertility in Maharashtra. He is often shown as riding a horse. For Warlis “Panchsiriya” is responsible for the well-being of the family. If he is not drawn, he will get angry is a popular belief of the Warlis. Thus, he is seen both as a protector and destructor.
He is also seen as the one who guards and protects the mother goddess. Besides Panchsiriya stood Donsiriya, a two-headed god, and above him were the four household gods strung from the pole. Outside the Chauk is a row of cattle called Tangad. Panchsiriya is closely identified with man’s own consciousness of himself and his surroundings and its growing complexities.
Other than Marriage Painting, there are other themes as well which are depicted in Warli paintings. Dr. Tribhuwan Robin and Finkenauer Maike (2001) identified approximately 100 themes in traditional and commercial Warli paintings in their book “Threads Together – A Study of Tribal and Prehistoric Paintings”. One of the important themes in Warli paintings is the depiction of natural elements. Almost every painting contains one or the other natural element.
Trees form an essential element in the Warli paintings. Trees like tamarind trees, date palm trees, bamboo, toddy trees, monkey trees, etc. are depicted in various paintings. Each tree has its significance and the interpretation of these trees also varies based on the individual artist’s perspective and the context of the painting. The tamarind tree acts as a vibrant representation of life’s continuous motion. The entire tree is made up of many circles of dots. These circles of dots represent the constant motion of life i.e. the vital force of life. Gigantic trees are drawn to show isolation and keep hostile strangers away. Warli paintings are incomplete without the monkey tree. Traditionally monkeys were depicted but now squirrels and birds are also drawn to show fertility. The presence of animals is believed to indicate the richness of the vegetal life.
Animals depicted in Warli paintings transcend mere representation; they carry profound ritualistic and cultural significance within the artistic tradition of the Warli tribe. Animals like peacocks, tigers, fish, horses, monkeys, goats, snakes, cows, spiders, etc. are depicted. Spider is considered as the one who never gives up just like it rebuilds its cobweb, Warli people rebuild their houses. Thus, we can say that the spider symbolizes the determined spirit of the community, motivating them to move ahead with firm resolve. Goats are of economic importance to the Warlis in a way that these can be used as meat as well as multiplied to sell them in the market. It also has medicinal uses. Horses, believed to be the divine vehicle of gods, occupy a sacred space in Warli mythology and tradition. In marriage ceremonies, the bride and groom are often depicted riding a horse in Warli paintings, symbolizing the journey into marital bliss and the auspicious blessings of the divine. Tigers in warli paintings are depicted in two different contexts. Firstly, as a wild cat attacking the village cattle. Secondly as Waghya dev “tiger god”. He is seen as the protector of the cattle and forest, and there is a belief that whoever harms the forest would be punished by him. He is not only depicted in the paintings but also his stone or wooden image is created and then worshiped. The goat is also sacrificed to please him.
Agriculture and fishing emerge as other powerful themes in Warli paintings, reflecting the profound bond between humans and the natural world. Rice sowing, transplanting, harvesting, and drying scenes depict the periodic cycle of farming while also representing optimism, rejuvenation, and prosperity. The paintings depict a variety of fishing techniques in waterlogged rice fields, representing the harmonious interaction between agricultural and aquatic ecosystems. “Kansari” or corn goddess is worshipped. She is also believed to be the one who sows the seeds to populate the earth with plants, animals, and humans.
The Warli tribe’s profound eco-cultural relationship with their environment is expressed in their paintings and the careful process involved in creating them. The materials used to make paintings are obtained from nature. The white colour is made using rice, and the background for the painting is created using cow dung and geru. They are heavily dependent on the environment around them which is reflected through their paintings. The techniques used and the produce in agriculture are subsistence in nature. The Warli’s careful resource use, seen in their selective harvesting of fuelwood from already dried trees, reflects their commitment to preserving the balance of their ecosystem. Through their paintings and way of life, the Warli tribe exemplifies a harmonious coexistence with nature, rooted in reverence, sustainability, and a profound respect for the environment.
Transition from Tribal Art to Popular Art
The decade of the 1970s is considered a turning point as it was during this period the simple art style began to transform into a more complicated one. Due to the commercialization and modernization of the paintings, one can notice a transition from tribal art to popular art, the painting that once had only ritualistic value started to gain commercial value as well. These paintings gained commercial appreciation because of the efforts of people like Sharad Kulkarni (anthropologist), Jivya Soma Mashe (Warli artist), Pupul Jayakar (cultural activist), and many more.
The commercialization has proved to bring both positive and negative impacts on the Warli people. The paintings which were traditionally made on walls, are now made on canvas, paper, and various other articles. Now not only white and red are used in the paintings but a variety of different colours are used. Not only natural paints but also synthetic paints are used to make these paintings. The paintings which were only made by women were now made by men as well. It provided economic opportunities to the Warli artists and has provided recognition and appreciation to the Warli culture. The simple motifs have been complemented with more complex motifs. New symbols and modern elements like bicycles, trains, and buildings have been introduced to make the paintings more commercially viable.
Commercialization and modernization have created an ever-lasting impact on the separate identity of the Warli tribe. The paintings that were once only drawn by the people belonging to this community are now being made by people from other regions as well. Non-Warli people have started to sell paintings and offer courses for commercial gain. This has led to the dilution of the elements present in the paintings. The story of Jivya Soma Mashe, a prominent Warli artist, highlights the challenges faced by Warli artists in meeting the demands of commercial markets. He was called to New Delhi to show the artistic tradition of the Warli tribe, where he drew an image of Palaghata that was considered unappealing to non-Warli audiences, showing the disconnect between traditional Warli motifs and the preferences of modern consumers. As the wider audience does not resonate with the traditional elements, these are replaced by modern elements to meet the demands of the masses.
Thus, to conclude it can be said that through these paintings Warli people try to express their entire worldview in their paintings. The incorporation of various elements in their paintings not only has an aesthetic appearance but also tries to convey deeper interconnectedness with their environment. The paintings serve as a medium to express the intrinsic relationship between the Warli tribe and the world around them, embodying both spiritual reverence and their needs. In the last 50 years, a change in the artistic tradition of the Warli tribe has been noticed. The paintings which were once used only for cultural and ritualistic purposes are now used as a means to gain economic stability. Mr. Sanjay Parhad (warli artist) is of the view that although commercialization is necessary for providing opportunities and recognising the culture it should not lead to the dilution of the traditional elements of the paintings.
Bhavya Jain is a 20-year-old aspiring archaeologist from Dehradun and is currently a third-year History Honors student at Miranda House, University of Delhi. She believes that studying history is important to understand the broader humanity. She has a deep love for reading about traditional art forms, temple architecture, and sculptures.
Ayushi Mishra is currently a 3rd year student pursuing a B.A History (Hons.) from Daulat Ram College, University of Delhi. With a keen interest in tribal art and culture, she loves learning about Indigenous traditions and their socio-cultural impacts.
